Legshocker ( 2002 )
consultation / Article By Jonah Brucker - Cohen
In the public of video game , the closer a game gets to realness , the better return for its designer and newspaper publisher . Take for deterrent example , Grand Theft Auto : a unbounded city surroundings where every aim is playable and can be stolen , picked up , or trashed . In the computer hardware business , allowing player to feel and experience these worlds is becoming more of import with integrated haptic feedback in controllers , microphones for vocalism communication between players , and even VR headset for more immersive experiences . take these sensory additions to the extreme are the Germany - free-base creative person //////////FUR//// , who create augmented hardware devices for gaming and attempt to alter the player s experiences with the added variables of pain and physical , first - person view . GIZMODO talk to Tilman Reiff of the duo about the reasoning behind their work and how pain and suffering ultimately add up to a more enjoyable play experience .
Name(s ): Volker Morawe , Tilman Reiff
Age(s):V : 35 , T : 34
Education :
Little Phoebe : Space electronics technician , Diploma Academy of Media Arts Cologne
thyroxine : Diploma information scientific discipline , Diploma Academy of Media Arts , Cologne
tie-up : Independent artist
Exhibitions : Ars Electronica ( Linz ) , DEAF ( Rotterdam ) , Garage ( Straslund ) , Bang The Machine ( San Francisco ) , Emergences ( Paris ) , Robodock ( Amsterdam )
GIZMODO : How did you first become concerned in change the experience of video game shimmer and players ?
TR : While I have been playing picture game for decades , this grade of entertainment has always drill Volker . Somehow these opposite view conduct to building the Painstation and everything else developed from there .
Painstation ( 2001 )
GIZMODO : With Painstation [ where actor hands are whipped and cauterize as they fiddle a secret plan of Pong ] , why make pain an significant aspect to plot turn ? How does it change or augment the final consequence of the secret plan for players ?
TR : We matte that for make games more interesting , we demand to include physical feedback . We retrieve games we used to act as as children , where being penalise was part of the plot . e.g. the notice game “ Folter - Mau Mau ” where the loser would have to get strokes on his fingers harmonise to the remaining plug-in in his hands . The terror of being punish always made these games very thrilling and we want to bring this thrill to video games as well . The whole bother - thing however would n’t be that interesting if you were n’t play against a human opponent . It ’s the back and forward between yourself being punished and your opponent hurt , attach to by each player ’s individual response to the “ intervention ” that makes the overall experience intense and fun .
Painstation 2.0 ( 2003 )
GIZMODO : In Legshocker , [ a game where shin defend with hydraulic Walter Piston are attach to each player s legs ] adding physical consequences to on - screen action mechanism seems to be important . Do you think these types of “ harmful ” additions increase or decrease the level of competition in games ?
TR : In the case of Legshocker , the interesting panorama is how the addition of pain alter the whole game : players tend to chase each other around on the practical soccer battlefield for take on and thus cause pain to the opponent . shoot goal is no longer interesting .
Furminator ( 2005 )
GIZMODO : With the Furminator , you were aspire to ply a “ first - person shooter ” stylus experience for pinball . How did this experience affect the game gambol for the median role player ?
TR : The idea of the Furminator was to provide an immersive experience that does not trust on computer bring forth images . The immersion is heighten because the player is really inside the ( mechanically skillful ) machine . The installation can be figure as an oversized VR - helmet . The game play however is not affected .
View Inside the Furminator ( 2005 )
GIZMODO : Most of your gaming - related projects deal with changing the position for the histrion . How important is view in video games and gaming in general ?
TR : Our destination is to change and experiment with the experience of man - machine - communication in general . We are building games because we cerebrate it ’s the most advanced form of interactive media and through our playful and entertaining approaching we manage to strain people that usually would n’t be interested in art . So in a way , our task are more about the linear perspective on art than the perspective in video game .
Mr. Punch ( 2005 )
GIZMODO : What is your most recent oeuvre about ? How is it similar different from the previous projects ?
TR : Mr. Punch , our up-to-the-minute body of work , is a mechatronic packing robot . It recreates distinctive video - game style game take on with mechanically skillful puppet , housed in a Punch - and - Judy theatre of operations . This fusion between other automata and a modern videogame show that the contentedness has n’t really change for C , it ’s just the bod of presentation that has evolved .
mention :
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